Still more secondary is the position of sculpture in the civilization of to-day. Here and there a monument or statue commemorates some great name or some great event. But these are still outside the current of our daily life. Marble is to us a gospel of death, and we grow less and less fond of its cold abstraction. The glitter of _bric-à-brac_, bits of color, an unexpected shimmer here and there--such are the favorite aspects of art with us.
In saying this, I remember that many beautiful works of art have been purchased by wealthy Americans, and that a surprising number of our people know what is worth purchasing in this line. And yet I think that in the houses of these very people, art is rather the servant of luxury than the embodiment of any strong and sincere affection.
We cannot turn back the tide of progress. We cannot make our religion sculpturesque and picturesque. God forbid that we should! But we can look upon the sculptures of ancient Greece with reverent appreciation, and behold in them a record of the naïve and simple faith of a great people.
If we must speak thus of plastic art, what shall we say of the drama?
Sit down with me before this palace of OEdipus, whose façade is the only scenic aid brought to help the illusion of the play. See how the whole secret and story of the hero's fate is wrought out before its doors, which open upon his youthful strength and glory, and close upon his desolate shame and blindness. Follow the majestic tread of the verse, the perfect progress of the action, and learn the deep reverence for the unseen powers which lifts and spiritualizes the agony of the plot.
Where shall we find a parallel to this in the drama of our day? The most striking contrast to it will be furnished by what we call a "realistic" play, which is a play devised upon the supposition that those who will attend its representation are not possessed of any imagination, but must be dazzled through their eyes and deafened through their ears, until the fatigue of the senses shall take the place of intellectual pleasure. The _dénouement_ will, no doubt, present, as it can, the familiar moral that virtue is in the end rewarded, and vice punished. But such virtue! and such vice! How shall we be sure which is which?